Fair at Warmond, by Jan St een

Private Coll ect ion

KNOW WHAT YOU SEE
An exhibition organized by Louis Pomerant z for The
Renai ssance Societ y at t he Uni versity of Chi cago,
October 1970.
The Renaissance Societ y , f ounded i n 1915, has brought
the Universit y of Chicago and the city, distinguished and
original art of various periods.
The exhibition wi l l be circulated by th e Il l i nois Arts Counci l ,
an agency of t he st at e, established i n 1965 t o bri ng " art s t o
the peopl e." It was made possib le by grants f rom the Council
and from Ciba Cor porat i on.
Acknowledgements:
Th is exhibition owes its existence to the splendid coopera-
tion of many individuals and organi zations. I am deeply
indebted to the following lenders of original works of art :
Mrs. James R. Anderson, EI Paso, Texas ; Thomas G. Harris,
Chicago; The Art Institute of Chicago , The Brooklyn Museum,
Phyllis Kind Gallery, Chicago, the Estate of Mrs. Florence E.
Dickerman, and to the . many wonderful anonymous lenders .
I am deeply indebted to the following colleagues for th eir
enthusiastic support and cooperation in supplying technical
documents : Mrs. Susanne P. Sack, Brooklyn, New York;
Charles C. Bridgman, Rochester, New York ; Alfred Jakst as,
Chicago; Linton Godown, Chicago ; Sheldon Keck, Cooper -
town, New York ; Nathan Stolow, Ottawa, Canada; Dr
Herbert Pollack, Chicago; Madame Madeleine Hours, Paris,
France, ' I am very grateful for the assistance of the many
individual staff members of The Art Institute of Chicago,
The Brooklyn Museum , The National Gallery of Art , Wash-
ington, D. C., and the Louvre Museum.
I am especially grateful to the anonymous donor of funds
to underwrite the cost of the color plate for the catalogue;
to the CI BA Corporation, the General Manager of their P & I
Division, Mr. Peter Krause, and Mr. V. H. Link, Regional
Technical Representative, for making available for this
exhibition, without cost, the " Cibachrome" color process
used in producing the color transparencies on view, and for
the concern th ey showed for qual it y control i n the work
involved; to Messrs. Stanley Fairweather and Ben Ami
Dresdner of General Exhibits and Displays who demon-
strated an understanding and con cern for the goals of
the show; to Mr . Sidney Lewis of Signature Press and to
Collins, Miller & Hutchings for their splendid cooperation
in producing the catalogue and col or plate; to Gamma Photo
Labs Inc ., Chicago, for their product ion of th e color trans-
parencies and the black and wh ite phot ographic materi al ; to
Dr . Fritz Rothbart , Chicago for the gift of X-ray viewing
screens; and to Mr . Norman Nelson, St . Charles, Illinois, for
his support and enthusiastic cooperation.
My sincere thanks to the Illinois Arts Council , Mr . S.
Leonard Pas, Jr ., Director, and Mr. Don Baum, Director of
Exhibitions, for their co-sponsorship of the exhibition.
Through their support and planning, the exhibition will tour
Illinois for the next year. My sincere thanks to the
Renaissance Society and the Un iversity of Chicago for their
enthusiastic reception and support . I know that Martyl
Langsdorf, President of The Renaissance Society and Karin
Rosenberg, Director of Exhibitions, join me wholeheartedly
in these expressions of gratitude. Credit for the idea of
such an exhibition goes to Martyl Langsdorf. To them I must
express my own thanks for their help and enthusiasm and
Mrs. Rosenberg's creative labors in preparation of the catalog.
To their respective husbands and to my wife I express grati -
tude for the understanding they have shown.
In writing the text for the exhibition I have borrowed
fr eely from the published works listed in the bibliography.
However, responsibility for the statements made is mine
alone.
Introduction
The exhibition "Know What You See" pays homage to an
ideal shared by the artist, the scholar and the conserv ator :
the revelation and preservation of the genuine in art. Hope-
fully, it will serve to remind us that reaching for this goal
requires an open and inquiring mind.
The uninitiated should note that by carefully selecting case
histor ies, th e exhibition reflects only posi t ive results, when
in reality negati ve results are all too common. He should
also bear in mind that equipment and techniques, no
matter how sophisticated, only provide information, not
answers . Often the information is unclear and requires in-
terpretation. The validity of the results depends upon the
accuracy of the interpretation. The techniques demon-
strated in the show complement esthetic and historical cri-
teria in the study and appreciation of paintings.
For those who vi ew an exhibition of this kind for the first
time, be forewarned: you may never again look at paintings
in quite the same way. You may become aware of many
reasons why a work of art possibly misrepresents the artist .
You may understand more fully the many things that
affect the appearance of paintings. You may begin to appre-
ciate the limitations of the unaided, untrained eye, com-
pared to the enlightened vision made possible with the aid
of science and specialized photo-optical techniques. You
may begin to question what you see, and in questioning
reach out more often to touch the truth, to "know what
you see."
No doubt there will be those who feel unhappy about such
an exhibition, fearing the information revealed will cloud
more minds than it will clear; will undermine public confi-
dence in authority; will dangerously over-simplify things too
complicated for the general public to grasp; and will spoil
the simple joy of seeing. '
To those who entertain such fears I admit some risk exists.
But will our ideals be further advanced by maintaining walls
of silence and islands of ignorance, or by building bridges
and sharing knowledge?
By combining forces and pooling knowledge, the art his-
torian and conservator can enhance the chances for success
in separating facts from fancy . Hopefully, by preserving
the integrity and natural continuity of art history, we can
continue to learn from and build upon the past.
Louis Pomerantz
Conservator
Checklist of the Exhibition
Gerard David (Flemish,1450/ 60- 1523)
* Madon na and Child
Oil on wood panel, 6 7/8 x 5 1/4
Coll ect ion Thomas G. Har ri s, Chicago
Compar isons bet ween genui ne and f alse
1. Det ail, Madonna's head befo re cl eani ng: Th e genuine
cracks are cr isp and fo rm an all -over net wor k . (Scale 8: 1)
2. Unknown artist , f ake 17th cent ury It al i an (?). The
absence of age cracks i n th e face and t he isolated cracks,
obviously made by scor i ng t he surfa ce wi t h a stylus, i n-
di cat e a pai nting of modern or igi n. (Scal e 8 :1)
3. Det ail , upper r ight section, genuine painti ng, before
cleani ng: At far right th e grime and varnis h have been
removed; althoug h t he age cracks are sti ll th ere, th ey are
much l ess visi ble now. Th e overpai nted white veil was
remov ed i n th e cleani ng process. (Scale 3: 1)
4. Det ail , uppe r hal f, fake paint i ng: Most likely, an old , ex-
t ensively damaged paint ing was used as a base f or t his
modern f ake. (Scal e approx i mate ly 3 :1 )
5. Det ail , age cracks in genui ne painti ng, befor e cl eaning:
The whit e paint is seen as fill i ng cracks , pr oof of a lat er
add ition. (Scale approximate l y 50 :1)
6. Detail, f ake 17th century painting : Outer edges of f ake cr acks
are raised and rounded by th e pressure of th e sty l us against
th e soft wax . (Scal e approximately 50 : 1)
(Photographs by Linton Godown, Chi cago)
Edgar Degas ( Fr ench, 1834 -1917)
* Study of Dancer
Past el on paper , 12 1/4 x 9
Pr ivat e col lect ion
1. Page f ro m Vente Edgar Degas, Volume II , Catalogue des
pastels et dessins par Edgar Degas et provinence de son
atelier, 3
e
Vent e, Avril 1919. The value of photographic
documentation cannot be overemphasi zed. Th anks to th e
photograph i n th e Degas estate sale cat alogue, curato r
Harold Joachim was able t o recogni ze it as a work of
Degas which had been reworked.
2. Det ail , (r ight side of page 129) Degas sale, 228-2
e
3. Bef ore treatment: Compl et el y reworked to resemble a
f inished drawing .
4. Half-cl eaned state: It was possible t o remove th e exten -
sive layers of past el pigment covering t he or iginal drawi ng
wit h complete safety since t he origi nal pastel had been
t reated wit h a f i xative before th e f or ger reworked it .
5. After comp let ion of cleani ng: Th e drawi ng now mat ches
t he appearance of t he photograph i n th e sale cata logue
and is once again an authe nt ic Degas past el drawing.
' Al l ar t ists ' names and tit l es of works ar e as gi ven by owners. All dimen-
sio ns ar e in i nches with height pr ecedi ng w idt h . Nu mbers in bo ld f ace
indi cat e co lor tr ansparenci es and , unl ess ot herwise specif ied , regul ar
f ace indicat es black and white ph ot ogr aph s. Ori ginal works wi ll be
shown only at the Renai ssance Soc iety and wi ll be r eplaced wi t h col or
transpar enci es for th e traveling porti on of the ex hi bi t io n. Photograph s
by Lo uis Pomerant z unl ess ot herwise indi cated . Ast eri sk marks works
treated by Loui s Pomerant z.
- ~ = -:: ..... ::.::.=::"_.:.
Edgar Degas, S tudy of Dancer , before t reat ment .
~ - - _ . j
Edgar Degas, Study of Dancer, afte r treat ment .
Felice Fich erelli (Ita lian, 1605-1669 )
Judith, c. 1650
Oil on canvas, 38 3/4 x 39 3/4
Art Inst itut e of Chi cago, Charl es H. and Mar y F. S.
Worcester Collect ion
1. Test cleaned areas reveal changes i n composition indi cat ed
during preliminary exami nat ion.
2. Det ail of heads, t est cl eaned .
3. Half -cl eaned , reveali ng f igure f ormer ly overpainted .
4. Bef ore treatment , ultraviolet photograph. The
fluorescence pattern i nd icates t he presence of r epaint
i n the right- hand section.
5. Bef ore t reatment, infrared photograph : Thi s reveals t he
f igure of a woman belo w th e discolored varni sh.
(Treat ment and photo graphs by Alf red Jakstas,
Art Insti t ut e of Chi cago)
Jean-Honore Fragonard, (French, 1732-1806)
Portrai t of Mlle. Marie-Cat herine Colombe
Oi l on canvas, 22 1/ 8 x 18 1/ 8
Th e Brooklyn Museum, lent by th e estat e of Mr s. Florence
E. Di cker man.
Anonymous forger, (20t h Cent ury )
Cop v of Fragonard Por trai t of Ml l e. Marie-Catheri ne Colomb e
Oil on canvas, 22 7/8 x 20 3/ 4
Th e Broo klyn Museum, lent by the estate of Mrs. Fl orence
E. Dickerman.
On th e left , th e or iginal ; on t he ri ght , th e f ake. Examination
conf ir med the contemporary nat ure of th e f ake. The pain t
f i l m showed no signs of age cracks or drying cracks and re-
acted readil y t o very mi ld solvents which an old paint fi lm
wou ld have resist ed. The grou nd and paint f i l m was com-
posed of zi nc-white, not yet used in Fragonard 's li f e t ime.
Th e canvas showed no natural signs of agi ng and t he stretc her
was stai ned to look old .
1. Radi ograph of or iginal pai nt i ng. This shows th e f orm of
the desi gn clearl y indi cating t he use of whit e lead, proper
fo r the peri od. Age crack s, damages, and i rregular canvas
weave are visi ble, common t o t he 18th cent ury .
2. Radiograph of f ake. This reveals on ly very f aint t races of
th e pai nti ng' s design; no cracks, no reto uches and a very
f ine and evenl y woven canvas.
(Photographs and radi ographs by Mrs. Susanne Sack , Th e
Brooklyn Museum.)
P. L. Harris (American, 19t h Cent ur y )
;; Three Patten Daughters, 1864
Oil on canvas, 41 3/4 x 341 / 8
Collection of Mrs. James R. Anderson, EI Paso, Texas, daught er
of t he late Frank H. Phil bri ck
1. Parti all y cl eaned, normal photog raph
2. Same st at e, infrared photograph
3. Signatu re on rear , i nf rared photog raph
Thi s group portrait paint i ng was wax -li ned and cleaned in
1961 . A prel imi nary examinati on reveal ed t he presence of
another pai nting below th e visib le design. Some of these
fo rms are seen i n t he present pai nt i ng as pentime nti.
Damiano Mazza (Italian, late 16t h Century )
Allegory
Oiloncanvas,513/6x611 /8
Art Institute of Chicago, Charles H. and Mary F. S.
Wor cester Coll ection
1. Before t reatment: Note changes i n color relat ionships
where yello wed varni sh is removed in t est cleani ng.
2. Det ail, partl y cleaned : Th e whi t e areas al ong lower edge
at left represent fillings of an ol d repair t reatment.
3. Detail , part ly cleaned.
4. After cleani ng, before any i npai nt i ng. Compare wi t h no. 1.
5. Detail, head of figure at left, half-cleaned.
6. Detail, normal light . Compare with no. 7.
7. Detail, infrared photograph : Reveals artist 's preliminary
drawing.
(Cl eaning t reatment performed by Louis Pomer antz. Photo-
graphs by Anton Konr ad and L. P.)
"M. P." Monogram
Mary Magdalen and a Donor
Oil on canvas mounted on wood panel, 18 1/4 x 15 1/4
Private coll ect ion
1. Master of Moulins (French, act ive c. 1480-99)
Ste. Marie Madeleine et une donatrice
Painting on wood panel
Ori ginal in Louvre Museum, Paris
2. Det ail , Master of Moulins paint ing, normal l ight
3. Det ail, Master of Moulins painting, radiographic du pli cate
print : Reveals characteristic br ushwork of th e art ist . Th e
lack of overall density in the radiograph is typical of a
glazing technique rather than direct painting. (Photographs,
cou rtesy Laboratory of the Louvre Museum)
4. Radiograph of pai nt i ng by "M. P." : Compare w it h radio-
graphi c print of the original f or styl isti c differen ces.
(Radiograph by Dr . Herbert Poll ack , Chicago)
5-6. Det ail s, painti ng by " M. P." showing f alse crack patterns.
Th e pr esence of the art ist ' s initi als, " M. P.", i n th e lower left
corner removes this pai nt i ng from th e realm of mi schi evous
intent t o deceive. However, th e extensive false crack
patt erns, made with stylus, paint, or by rolling, misrepresent
the painting's modern origins.
Harry Roseland (American)
The Blessing, 1905
Oil on canvas, 30 x 48
The Brooklyn Museum, gift of Mrs. Charles D. Ruwe
1. After treatment : wax-lining and cleaning .
2. Specular reflecting light photograph shows human figure.
3. Radiograph of entire painting shows head and racket of
young man under figure of elderly man at left.
4. Detail of radiograph, lower section, viewed bottom edge up .
Note head, flowers, drapery and hand, unrelated to
visible painting.
5. Photomicrograph of cross-section of paint film embedded
in a plastic medium which shows the many layers of paint
In this structure, photographed through the microscope at
100x magnification. There are probably two complete and
two incomplete paintings on this canvas. Only when it has
been proven that the under painting is historically or mon-
etarily more valuable is the visible painting ever removed.
Radiograph, courtesy Charles F. Bridgman, Eastman Kodak
Company. Treatment and photographs by Mrs. Susanne P.
Sack, The Brooklyn Museum.
Jan Steen (Dutch,1626-79)
.. Fair at Warmond
Oil on canvas, 44 x 71
Private collection
1-4. Progressive stagesof cleaning.
5-8. Details of repainted female figure during cleaning.
The painting is documented here for the first time in its originat
state. The squatting figure in central foreground had been
repainted to show her emptying a large jug of water. Since
the repainting was over varnish covering age cracks, it was
obviously not done by Jan Steen, but probably executed to
suit the taste of a former owner.
(Inside cover photograph by EPS Studios, Evanston)
Hendrik van Balen (Flemish, 1575-1632)
" Triumph of Neptune and Amphitrite
Oil on wood panel , 21 1/2 x 30 1/16
Private collection
1. Half-cleaned
2. Detai l, center, half-cleaned
3. Test-cleaned, normal photograph
4. Test -cleaned, infrared photograph
5. Detail, center test-cleaned, normal photograph
. ,
6. Detail, center test -cleaned, infrared photograph
This painting, by a contemporary of Rubens , represents an
excellent subject for study by infrared photography, because
the technique of painting is one of thin layers of oil glazes
over a strong preliminary drawing.
(Photographs by EPS Studios and L. P.)
Hendrik van Balen, Nep tune and A mphitrite, center sect io n,
normal photograph, bef ore t reat ment.
Hendrik van Balen, Neptune and Amphitrite, cent er section,
infrared photograph, before tre atment .
* George Washington on a White Charger (Jack)
1. Unknown Artist, New York, c. 1830 '
George Washington on a White Charger (Jack)
Oil on wood panel, 381/8 x 293/8
Original in National Gallery of Art, Washington D. C., gift
of Edgar William and Bernice Chrysler Garbisch
(Scale approximately 1:2)
2. Before treatment : A dense layer of grime and discolored
varnish obscures the brilliance of the original colors below
and hides darkened repaint in the waistl ine at left .
(Scale 1:2) '
3. Half-cleaned: The overpainted waistline is now visible at
left . The oil paint film once matched the surrounding
areas, but has gone through a normal darkening with age,
one of a number of reasonswhy oil paint is considered un-
desirable as a retouching medium.' (Scale 1:2)
4. Cleaned except for overpaint in waistline atleft : Note .
the 'all igat oring' type of paint cracks in right foreground..
In final .treatment these were inpainted to minimize their
distracting effect. (Scale 1:2)
5. Detail, macrophotograph of partly removed overpaint :
The darkened overpaint has filled in the agecracks.
It was removed mechanically with sharp knives by fracturing
the layer of overpaint while observing the work through
the microscope. (Scale 2:1)
Transfer Treatment of a 15th Century Wood Panel Painting
1. Alvise Vivarini (Italian, 15th century)
Portrait of a Man
Oil on cradled wood panel, 17 7/8 x 12 7/8
Original in The Brooklyn Museum, gift of Mrs. Watson B.
Dickerman
Detail of head before treatment shows buckling and flaking
paint due to shrinking of wood support .
2. After completion of treatment. (Scale 1:2)
3. Reverseof paint film after removal of all material except
the paint layers. Vivarini's preliminary drawing can be
seen on the reverse of paint film (Scale 1:2)
4. Reverse of wood panel after removal of cradle (Scale 1:2)
5. Detail of preliminary drawing of nose and mouth on reverse
side of paint film. (Scale 1:1)
(Treatment and photographs by Professor Sheldon Keck,.Con-
sultant Conservator, The Brooklyn Museum)
Crack Patterns and Their Meanings
1. Drying Cracks : A form of 'al l igat or i ng' created by i ~ t e r
nal stress when drying rates differ in a multi-layered
structure. The top layer or l ayers only are affected.
This is a form of inherent vice or faulty craftsmanship.
(Detail, 19th centu ry American, oil on canvas,
scale 3. 5:1)
2. Cleavage Cracks : The flexing of the canvas support, with
changes in relat ive hum lditv, cannot be followed by a dry
and brittle paint film, causing cleavage cracks . These
cracks resulted in the eventual flaking of paint due to
loss of adhesion . (Detail , Willem de Kooning, oi l on
canvas, scale 1.75:1)
3. ' Mud Cracks' : Another form of paint cleavage. This oil
paint film shows extensive cupping and flaking condition
caused by the dimensional instability of an excessively
thick layer of glue sizing reacting to extreme seasonal
changes in relative humidity. The small rectangle at
right indi cates an area already treated with an adhesive.
(Detail , Alexei Jawlensky, oil on paper board,
scale 2: 1)
4. 'Mud Cracks' : The extreme cupping and flaking condit ion
of the paint film was caused by an excessive amount of
honey mixed with the paint originally to prevent em-
brittlement . Exposure to extreme fluctuations of relative
hum idity caused dimensional changes in the support and
paint film, resulting in flaking paint. (Detail, Ben Shahn,
tempera on paper on plywood, scale 5:1)
5. Drying Cracks : A form of 'alligatoring' with an irregular
branch pattern mostly in thick areas. The artist had
ignored the rule of painting "fat on lean." The cracks
were formed largely by shrinkage of underpaint in
drying, with subsequent fracturing of the lean, dried,
upper paint layer. (Detail J.B.C: Carat, oil on wood
panel, scale 3.5: 1)
6. Sigmoidtype Cracks : These form a spider web or hull 's
eye pattern, caused by spot pressure. The pressure point
is marked by a paint loss in the center. This is an ex-
ample of mechanical damage. (Detail, 19th century
American , oil on canvas, scale 3.5 :1)
7. Most often this pattern of cracks is due to a combination
of age, stress at each corner, as well as tensions exerted
by the stretcher . (Detail, 19th century American, oil on
canvas, scale 1.5 : 1)
8. Varnish stains trace the cracked paint on the rear of the
canvas, indicating that cracks penetrate the entire film, in-
cluding ground layer . (Detail, rear of no. 7)
Some Things Affecting the Appearance of Paintings
1. Ivan Albright, oil on canvas, detail: before treatment . Un-
varnished painting showing grayish background pattern un-
related to original design, caused by exposure of the
excessively lean paint film to high humidity and atmos -
pheric impurities .
2. Ivan Albright , oil on canvas, detail: rear view of same
area before treatment . The extreme poros ity of the canvas
priming has allowed the painting to stain through rear of
canvas.
3. Ivan Albright, oil on canvas, detail: after treatment of
the affected areas with a solut ion of diluted stand oil to
compensate for the lack of sufficient binder in the paint .
No inpainting was performed.
4. Berthe Morisot , oil on canvas, detail: blister-like textures
resulting from faulty restoration treatment during lining
procedure.
5. Pablo Picasso, oil and sand on canvas: grime removed in
lower right.
6. Theodore Johnson, oil on canvas, detail : bloom on varnish
film.
7. Theodore Johnson, oil on canvas, enlarged section of no. 6
8. Fernand Leger, oil on canvas, normal photograph.
9. Fernand Leger, oil on canvas, infrared photograph :
clearly documents working method of art ist, i . e. en-
largement graph lines and brush stroke patterns. The
latter shows blue areas painted on either side of black
areas, rather than underneath .
10. Fernand Leger, oil on canvas, detail : white borax
crystals can be seen growing out of blue paint .
11. Actual layer of disco lored varnish removed from 19th
century oil painting. . The missing central area represents
an actual paint loss and the brown paint surrounding it,
retouches applied by a restorer . The retouching should
have been confined to the area of loss alone .
Color Is How You Light It
Jordan Davies (American, born 1942)
Untitled, 1970
Acrylic on canvas, 22 x 22
Phyllis Kind Gallery, Chicago
A different "white" fluorescent lamp is installed on each side
of the painting, top, bottom, left and right. As each in turn
lights up, it causes visiblechanqes in the color relationships in
the painting which it frames.
"Different light producinq sources have different effects on
colors. Unless the color is in the light source, it cannot be
seen in the object ." Color Is How You Light It, Sylvania
Lighting Center, Danvers, Mass.
The quality of illumination is an important factor to con-
sider when viewing, judging or comparing works of art. It
raises an interesting question regarding the literature of
connoisseurship and art criticism. Under what conditions
of light have these authors viewed and judged the works
described? Was it by oil lamp, candle light, daylight, incan-
descent or fluorescent lamp? Should contemporary critics
and scholars include a descriptive note on the qual ity of
light when commenting on the subject of color?
Some Applications of Science in the Examination of Works
of Art
1. Chronology Chart (courtesy of the Inst itut Royal du
Patrimoine Artistique, Brussels) This chart shows the
systematically arranged data regarding pigments found in
works of art from earliest times to the present.
2. Application of X-ray macroprobe for determining pigment
elements, e. g. copper, lead, iron, in layers of cross-section.
Bluish-gray paint from Jan Lievens' Job in Misery,
3. Photomicrograph, ordinary light, Rembrandt's Bathsheba.
"The layered structure of the painting can be seen. Each
layer can be identified to supply important data regarding
problems in dating, artist's technique, repaint, etc.
(Scale 160 :1)
4. X-ray diffraction studies of Rembrandt and Lievens
grounds.
5. Photomicrograph, ultraviolet light, Rembrandt's Bathsheba.
The absorption and reflection characteristics of the various
components found in the paint sample are a further aid
to their identification in ultraviolet light.
6. X-ray spectographic laboratory, National Conservation Re-
search Laboratory, National Gallery of Canada.
a) X-ray generator; b) X-ray diffraction camera and gonio-
meter; c) X-ray macroprobe and spectograph for analyzing
layers of pigment i n cross-sections; d) electronic panels
and read-outs.
Photographs of paintings referred to are from the National
Gallery of Canada and John Evans.
Bibliography
Bridgman , Charles, and Sheldon Keck, " The Radiography
of Paint ings", Medical Radiography and Photography,
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1961.
Burroughs, Alan, Art Criticism from a Laboratory. George
Allen & Unwin, Ltd., London, England.
Coremans, Paul, Van Meegeren's Faked vermeers and De
Hooghs. J. M. Meulenhoff, Amsterdam, The Netherlands.
1949.
Eastman Kodak Co., Applied Infrared Photography.
Rochester, New York. 1968.
Eastman Kodak Co., Medical Division, Fundamentals of
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Eastman Kodak Co., Medical Radiography and Photography,
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Eastman Kodak Co., Ultraviolet and Flourescence Photog-
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Magazine, Oct., 1954.
Feller , R. L., Stolow, N. and Jones, E., Picture Varnishes
and Their Solvents. lnterrnuseurn Conservation Association,
Oberlin, Ohio, 1959.
Keck, Caroline, A Handbook on the Care of Paintings.
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Nashville, Tennessee. 1965.
Keck, Sheldon, "Mechanical Alterations of the Paint Film".
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Keck, Sheldon, "The Technical Examination of Paintings,
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Museum Journal. 1942.
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(1936-1947). London, England. 1947.
Pomerantz, Louis, Is Your Contemporary Painting more
Temporary than You Think? International Book Co.,
Chicago, Illinois. 1962.
Robertson, Clements L., " The Visual and Optical Examina-
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and Potentialities. Freder ick A. Praeger, New York,
New York. 1968.
Stolow, N., Hanlan, J. F., and Boyer, R., "Element
distribution in cross-sections of paintings studied by the
X-ray macroprobe", Studies In Conservation, Vol. 14,
no. 4. 1969.
Stout, George L., The Care of Pictures. Columbia
University Press, New York, New York. 1948.
Unesco, "Climatology and Conservation in Museums"
Museum, Vol. III, no. 4. Parts I, II, III. 1955.
de Wild, A. Martin, The Scientific Examination of
Paintings. G. Bell & Sons, Ltd. , London, England. 1929.